Rudrapatnam Brothers, R.N. Thyagarajan and R.N. Tharanathan, accompanied by C.N. Chandrasekhar (violin) and C. Cheluvaraj (mridanga) presented Allied Ragas-3 recently, as part of an ongoing series conducted by Ananya, Bangalore.
The ragas taken up for discussion and demonstration were Anandabhairavi and Reethigoula. It was explained that Anandabhairavi, now established as a janya of Karaharapriya, has nevertheless the properties of a bhashanga raga with the occasional use of the anthara gandhara, shuddha dhaivatha and kakali nishada. Further, a wide variety of vishesha prayogas transcend the basic framework of its stipulated arohana and avarohana, and a number of examples were cited to illumine the multiple facets of the raga. In Thyagaraja's Utsavasampradaya krithi “Ksheerasagara Vihara”, for instance, the mandra sthayi panchama is touched, and in the geetham “Kamalasulochana” the ni dha ni sa phrase is used, both of which, the artistes explained, are unusual.
Among the pieces sung in part or whole were Shyama Shastri's immortal “Marivere Gathi” “Neemadichallaga” of Mathrubhuthayya, remarkable for its chittaswara, Dikshithar's “Kamalamaba Samrakshathu”, embellished with pa ni pa and the ascending sa pa pa sa usages, and “Thyagaraja Yogavaibhavam” featuring both gopuccha and srothovaha yathis, Swathi Tirunal's “Pahi Tharakshupuralaya” enlivened by madhyamakala sahithya, the exquisite “Ramanama Payasake” by Purandaradasa, and the pallavi “Parvathi Paramanandabhairavi” sung by GNB.
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The artistes then elucidated the salient features of Reethigoula, also a derivative of Kharaharapriya and part of the “Dwiteeya Ghanapanchakam”, categorised as a bhashanga raga by virtue of the rare occurrence of the shuddha dhaivatha in certain expressions, some of which were illustrated. It was also pointed out that the swara sequence sa ni pa ni ni sa could be used to best advantage in the mandra sthayi, as against the madhya sthayi.
The key phrases of Veena Kuppaiyers's ata thala varna “Vanajakasha” were highlighted, along with those of Subbaraya Shastri's “Janani Ninnuvina”, and many Thyagaraja compositions including “Nannuvidachi”, “Dwaithamu Sukhama” and “Cheraravademira”, each of which had its distinct identity. Mysore Vasudevacharya's “Mama Hridaye” with its arresting swarakshara takeoff, and Oothukkadu's “Vrindavana Nilaye”, accentuated with alluring jathi patterns were also quoted as prime examples of classic Reethigoula.
The audience was treated to succinct and bhava laden alapanas of the ragas, epitomising the enchanting essence of each, and exemplifying the vast erudition and experience of the lead artistes. Instrumental support remained unobtrusive and entirely in consonance with the demands of the occasion. The session, which was both illuminating and informative, concluded with “Jayamangalam Nithyashubhamangalam” in Anandabhairavi.
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